DOCSLIB.ORG

From Guido Reni to Carracci- Scholar Bequeaths 57

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
From Guido Reni to Carracci- Scholar Bequeaths 57 AUTHENTICATION IN ART Art News Service From Guido Reni to Carracci: Scholar Bequeaths 57 Baroque Masterpieces to UK Museums by BLOUIN ARTINFO UK Published: February 19, 2013 The donation of late Sir Denis Mahon’s impressive collection of Baroque paintings has been finalized, the Art Fund announced this morning. 57 pictures by the likes of Guido Reni, Ludovico Carracci, and Pietro de Cortana have now entered the permanent collections of six major UK galleries. Twenty five pieces have gone to London’s National Gallery, twelve to Oxford’s Ashmolean, eight to Edinburgh’s Scottish National Gallery, six to Cambridge’s Fitzwilliam Museum, five to Birmingham’s Museums and Art Gallery, and one to Leeds’s Temple Newsham House. “Sir Denis was associated with the National Gallery for nearly eighty years, beginning with his appointment as an attaché to Copyright Guardian News & Media Ltd 2011, photograph Martin Godwin the curatorial department under Kenneth Clark Sir Denis Mahon, photographed in the National Gallery, London and culminating in the great celebratory exhibition of his collection here in the 1990s – ‘Discovering the Italian Baroque’,” said National Gallery director Sir Nicholas Penny. “As a hyperactive trustee of the gallery and exacting friend of many curators he did much to urge us to acquire great Baroque paintings. We also acquired some from him at the end of his life and he bequeathed a masterpiece by Guercino to us. Now in addition we have received many more. He is one of our greatest benefactors and we will always honour his memory.” Mahon, who died in 2011, was one of Britain’s most prominent collectors and art historians. He played a key role in the reappraisal of Italian Baroque, and supported the reattribution of two paintings to Caravaggio. He was also an outspoken champion of museums, campaigning for free admission and against the selling of works from public collections. The 57 bequeathed pieces had been in long-term loans in their respective institutions on the express condition that they would respect these terms. An extra 50 works associated with Guercino have been left to the Ashmolean, and £1m went to the Art Fund, the charity which oversaw the gift and of which Mahon had been a member since 1926. “His vision as an art collector was extraordinary,” said Art Fund director’s Stephen Deuchar, “as was his determination that his collection should ultimately be on public display.” www.authenticationinart.org AUTHENTICATION IN ART Art News Service The lawsuit claims the defendants are in violation of the Racketeer Influenced and Corrupt Organizations Act, a federal law that allows extended penalties for ongoing criminal organizations. Charles D. Schmerler, a partner at Fulbright & Jaworski L.L.P. and a lawyer for Hammer and Knoedler, told ARTINFO in a statement: “The Hilti complaint rehashes the same baseless claims contained in the prior lawsuits. Given the attention this matter has received, it is not unexpected to see copycat suits filed. We plan to aggressively litigate this case and expect to see Knoedler and Mr. Hammer fully vindicated.” “These are serious claims,” William Charron, a partner at Pryor Cashman LLP representing the Hilti Trust, said in an e-mail. “We understand that the defendants have described similar lawsuits in the past as ‘copycat’ actions. We think it is precisely the point that our client is not alone in bringing these kinds of claims.” In a statement, former Knoedler director Ann Freedman said, “These paintings were exhibited in museums around the world and heralded as masterworks. This particular Rothko was featured at the Beyeler Foundation in 2002. The personal vendettas and professional jealously behind the attacks on the works and on my reputation should be obvious.” Though the twists and turns of the Knoedler affair have been covered closely by the press, it looks like some involved are hoping to keep the particulars under wraps moving forward. The Hilti trust’s suit comes just over a week after collector Michael Howard, who is suing Knoedler over an allegedly fake de Kooning painting he purchased from the gallery, entered into a confidentiality agreement with many of the same defendants, according to public court records. Knoedler Gallery abruptly closed its doors last December, but Ann Freedman continues to operate her own gallery on the Upper East Side. www.authenticationinart.org .
Load more

Recommended publications
  • Review of the Year 2012–2013
    review of the year TH E April 2012 – March 2013 NATIONAL GALLEY TH E NATIONAL GALLEY review of the year April 2012 – March 2013 published by order of the trustees of the national gallery london 2013 Contents Introduction 5 Director’s Foreword 6 Acquisitions 10 Loans 30 Conservation 36 Framing 40 Exhibitions 56 Education 57 Scientific Research 62 Research and Publications 66 Private Support of the Gallery 70 Trustees and Committees of the National Gallery Board 74 Financial Information 74 National Gallery Company Ltd 76 Fur in Renaissance Paintings 78 For a full list of loans, staff publications and external commitments between April 2012 and March 2013, see www.nationalgallery.org.uk/about-us/organisation/ annual-review the national gallery review of the year 2012– 2013 introduction The acquisitions made by the National Gallery Lucian Freud in the last years of his life expressed during this year have been outstanding in quality the hope that his great painting by Corot would and so numerous that this Review, which provides hang here, as a way of thanking Britain for the a record of each one, is of unusual length. Most refuge it provided for his family when it fled from come from the collection of Sir Denis Mahon to Vienna in the 1930s. We are grateful to the Secretary whom tribute was paid in last year’s Review, and of State for ensuring that it is indeed now on display have been on loan for many years and thus have in the National Gallery and also for her support for very long been thought of as part of the National the introduction in 2012 of a new Cultural Gifts Gallery Collection – Sir Denis himself always Scheme, which will encourage lifetime gifts of thought of them in this way.
    [Show full text]
  • Download the Sir Denis Mahon Foundation: a Review of the First
    The Sir Denis Mahon Foundation A Review of the first decade April 2021 Contents 1 A decade of the Foundation 2 2 Grants and prizes 2 3 The National Gallery of Ireland 3 4 The Art Fund and the Student Art Pass 4 5 Spotlight on recent exhiBitions funded By the Foundation 4 6 Donations and sponsorships 5 7 Support 7 Review of the Denis Mahon Foundation for the decade | 05 | Page 2 1 A decade of the Foundation This review for the decade is a triBute to the Foundation’s ten years of charitaBle work in memory of the late world renowned scholar and philanthropist, Sir Denis Mahon. Sir Denis was a distinguished collector and scholar of Italian art who had a particular interest in drawing, carving and conservation. The Foundation was established in 1988, but only became active following Sir Denis’s death in April 2011. Over the past ten years, the Foundation has Been exceptionally active thanks to the dedication and hard work of the Trustees, the Artistic Director, the collaborators, artists and young scholars. The Foundation has strived to honour Sir Denis’s legacy by promoting the education and accessibility of art and art history, and supporting the development of young artists. It has funded numerous exhiBitions, provided grants and prizes to young scholars and artists, funded the Student Art Pass and made significant donations of funding and artwork to museums across the world. The Foundation now has a weBsite (www.denismahonfoundation.com) and social media presence to keep Sir Denis’s legacy alive and to engage with young scholars, artists and supporters.
    [Show full text]
  • National Gallery of Ireland Annual Report 2015
    National Gallery of Ireland Annual Report 2015 National Gallery of Ireland The National Gallery of Ireland was founded by an Act of Parliament in 1854 and opened to the public in 1864. It is home to over 16,300 works of art, complemented by the National Portrait Collection, as well as research facilities dedicated to the study of Irish art. The collection ranges in date from the fourteenth century to the present day comprising paintings, sculpture and works on paper spanning the history of Western European art, from Renaissance masters Fra Angelico and Paolo Uccello to Claude Monet and Pablo Picasso. The Gallery’s most prominent holdings relate to the Irish collection with works by Nathaniel Hone, Thomas Roberts, Daniel Maclise, Roderic O’Conor, William Orpen, John Lavery, Louis le Brocquy, among others. Particularly popular are the works of William Leech, Paul Henry and Jack B. Yeats, whose extensive archive is housed at the Gallery. More recently the Gallery has significantly enhanced its research facilities with the opening of the Sir Denis Mahon Reading Room. The permanent collection is free to the public and the Gallery welcomes large numbers of Irish and overseas visitors each year. Four wings of the Gallery, built between 1864 and 2002, accommodate a growing collection. As part of the Master Development Plan (MDP) a major refurbishment project of the Dargan and Milltown wings on Merrion Square is currently underway and scheduled to reopen with a new presentation of the collection in 2017. An additional wing to the Gallery is planned for the coming years. This final phase will conclude a decade-long process of essential improvement and modernisation of the National Gallery of Ireland for staff and visitors alike.
    [Show full text]
  • N U M B E R T W E N T Y 1961 REMBRANDT
    NumberTwenty 1961 REMBRANDT Christ and the Woman of Samaria AUCKLAND CITY ART GALLERY QUARTERLY NUMBER TWENTY —1961 EDITORIAL In 1634, Rembrandt married Saskia van Uylcnburgh who had a considerable dowry, As our Old Master collection has increased so which provided the artist, for a brief few years, much recently, we are building five more a pleasurable existence. He was an enthusias- mobile walls for the Mackelvie Gallery. Space tic collector, buying paintings and etchings- now, in the Gallery, is at a premium. It was particularly by Italian artists — and his work therefore encouraging to learn that it is in- of this period often reflects the influence of tended that the New Library building is to his collection. The present etching indeed is commence next year. The present library rooms clearly based on an Italian model. Valentiner will provide us with adequate space for many suggests Moretto's work at Bergamo, but years to come. Munz, more convincingly, suggests an engrav- ing by Girolamo Olgiati, who was an imitator of Cornelis Cort in Venice in the 1570s. It is REMBRANDT VAN RIJN (1606-1669) Dutch not surprising therefore to find certain simi- CHRIST AND THE WOMAN OF SAMARIA (Cover) larities between Olgiati's work (repr. Munz: Etching 121 x 106mm H. 122 II The Etchings of Rembrandt II p. 95) and that Signed Rembrandt f. J634 of Guido Reni. Annibale Carracci had made This etching was purchased, with others visit to Venice in 1585. and his brother Ago noticed in a previous issue, this year. Rem- stino had been there earlier in 1581-2.
    [Show full text]
  • The National Gallery Review of The
    TH E April – March NATIONAL GALLEY NATG028_P0001EDngReview2012_13August.indd 1 14/08/2012 14:22 NATG028_P0002EDngReview2012_21August.indd 2 21/08/2012 09:43 TH E NATIONAL GALLEY April – March NATG028_P0002EDngReview2012_21August.indd 3 21/08/2012 09:43 Contents Introduction 5 Director’s Foreword 6 Sir Denis Mahon (1910–2011) 7 Acquisitions 12 Loans 18 Conservation 28 Framing 34 Exhibitions and Displays 38 Education 50 Scientifi c Research 54 Research and Publications 58 Private Support of the Gallery 62 Trustees and Committees of the National Gallery Board 66 Financial Information 66 National Gallery Company Ltd 68 Cracks and Age in Paintings 70 For a full list of loans, staff publications and external commitments between April 2011 and March 2012, see www.nationalgallery.org.uk/about-us/organisation/ annual-review NATG028_P0004EDngReview2012_13August.indd 4 14/08/2012 14:26 – – will be remembered as a historic year for followed by donations to the National Gallery the National Gallery, and not least as the year in from many of our major supporters, whose which we enjoyed our most successful exhibition generosity is acknowledged elsewhere in this to date, in the form of Leonardo da Vinci: Painter at Review. We also acknowledge with thanks the the Court of Milan. The exhibition, which brought contribution of the Duke of Sutherland, who together for the fi rst time Leonardo’s two versions agreed to a reduction in the originally agreed of his great masterpiece The Virgin of the Rocks and price, to make the purchase possible. received almost universal critical acclaim, saw the In order to secure the acquisition, the National public queuing for admittance in Trafalgar Square Gallery Board took the wholly unprecedented step from the early hours of the morning.
    [Show full text]
  • Domenichino's Scenes from the Life
    DOMENICHINO’S SCENES FROM THE LIFE OF ST. CECILIA: ARTISTIC INTERPRETATION AND THE COUNTER-REFORMATION by Emily Freeman Bachelor of Arts, 2005 The University of Texas at Austin Austin, Texas Submitted to the Faculty Graduate Division of the College of Fine Arts Texas Christian University in partial fulfillment of requirements for the degree of MASTER OF ARTS May 2008 DOMENICHINO’S SCENES FROM THE LIFE OF ST. CECILIA: ARTISTIC INTERPRETATION AND THE COUNTER-REFORMATION Thesis approved: Major Professor, Dr. Babette Bohn Dr. Mark Thistlethwaite Dr. Nadia Lahutsky Graduate Studies Representative For the College of Fine Arts ii Copyright © 2008 by Emily Freeman All Rights Reserved iii TABLE OF CONTENTS List of Illustrations.................................................................................................. v Introduction............................................................................................................. 1 St. Cecilia and the Revival of Her Cult................................................................... 4 St. Cecilia in Art and Literature............................................................................ 13 Early Life and the Carracci Academy................................................................... 22 Conclusion ............................................................................................................ 43 Images................................................................................................................... 45 Bibliography ........................................................................................................
    [Show full text]
  • 096-Santa Maria Della Vittoria
    (096/11) Santa Maria della Vittoria Santa Maria della Vittoria is a 17th century baroque is titular and conventual church in Rome dedicated to the Blessed Virgin, under her title of Our Lady of Victory. For wealth, harmony and beauty, this church is one of the most representative monuments of the baroque style. History The present church is on the site of a very small but ancient chapel dedicated to St Paul, which had a hermitage attached for one hermit in the early 16th century. He justified his social existence by helping travelers caught out by darkness, bad weather and the threat of robbery. Back then, the area was entirely rural to the point where the Roman nobility used to go hunting and shooting birds hereabouts, especially in the deserted and overgrown ruins of the Baths of Diocletian nearby. (1) In the reign of Pope Paul V, however, the little chapel was demolished and replaced with a bigger edifice called San Paolo alla Fontana Felice (St Paul of the Happy Fountain), after a new acqueduct which had its terminus at the fountain across the road. (1) The present church was built by the Discalced Carmelite Friars, who purchased the church and some land adjacent in 1607. Initially they financed the work themselves, but when clearing the foundations discovered a superb pagan statue, called the Borghese Hermaphrodite, which is now in the Louvre. Cardinal Scipione Borghese made a deal with them, whereby he obtained the statue in exchange for paying for the work. Construction by the friars started in 1608, under the direction of Carlo Maderno, but the Cardinal's architect Giovanni Battista Soria was also involved after 1624 and it was he who designed the façade.
    [Show full text]
  • Here We Have Guido Reni's “St. Matthew and the Angel,”
    3 About the Cover: Here we have Guido Reni’s “St. Matthew and the Angel,” an Italian Baroque painting c.1635-40. This painting not only symbolizes the mystic nature of Catholicism, but also embodies the theme of our journal “The Word and Image.” St. Matthew’s quill moves rapidly as the Angel moves his hands, indicating direct speech, yet the hypnotic gaze alludes to something more than spoken word. This demonstrates the importance and power behind literature, as the dialogue between word and image presents itself as complex yet cohesive. We hope you enjoy the thought- provoking essays within this journal, as they aim to analyze the theme of “Word and Image” in Christianity, past and present. Matthew Sottile Associate Editor From the Editor’s Desk: The theme for this edition is “The Word and Image” which explores how Christianity, or Christian themes, are represented or depicted in the various arts including visual arts, music, drama, and literature. The number of submissions far exceeded our expectations, and it is with joy that we present the following essays, which did not come without a hard gruelling review process. The following works explore Christian representation from a wide scope of artistic and literary angles from the time of early Christianity to the present day. Our first essay, by Lisa D’Souza, explores the depiction of the holy women Thecla and Perpetua in The Apocryphal Acts of Paul and Thecla. How did women in the early Church achieve holiness? Or how were women in the early Church expected to attain holiness? How was holiness manifested in their bodies? In written stories, how does the aesthetic depiction of these women inspire others to follow Christ? Our second essay, by Aliyah Bhatia, picks up the question of visual representation of holiness by adding a material dimension to acts of devotion with the role of relics and reliquaries in the medieval period, with a particular focus on the reliquary of the Virgin and Child.
    [Show full text]
  • Counter-Reformation Agenda in the Paintings of the Virgin Mary
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2011 Counter-Reformation agenda in the paintings of the Virgin Mary. Sharon Lynne Heaphy 1987- University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Heaphy, Sharon Lynne 1987-, "Counter-Reformation agenda in the paintings of the Virgin Mary." (2011). Electronic Theses and Dissertations. Paper 595. https://doi.org/10.18297/etd/595 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. COUNTER-REFORMATION AGENDA IN THE PAINTINGS OF THE VIRGIN MARY By Sharon Lynne Heaphy A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville In Fulfillment of the Requirements For the Degree of Master of Fine Arts Department of Art History University of Louisville Louisville, Kentucky May 2011 COUNTER-REFORMATION AGENDA IN THE PAINTINGS OF THE VIRGIN MARY By Sharon Lynne Heaphy A Thesis Approved on April 15, 2011 by the following Thesis Committee Thesis Director (Christopher B. Fulton) Susan Jarosi Julia Dietrich ii ABSTRACT COUNTER-REFORMATION AGENDA IN THE PAINTINGS OF THE VIRGIN MARY Sharon Lynne Heaphy April 15,2011 This paper investigates the objectives ofCounter-Refonnation leaders as seen through the visual culture of the Virgin Mary in the time period.
    [Show full text]
  • Every Painter Paints Himself: Self-Portraiture and Myth-Making in the Works of Caravaggio
    THE SIR DENIS MAHON ESSAY PRIZE EVERY PAINTER PAINTS HIMSELF: SELF-PORTRAITURE AND MYTH-MAKING IN THE WORKS OF CARAVAGGIO ANNA MURPHY The Sir Denis Mahon Essay Prize was estab- Sir Denis’s endeavours in this respect. The Somewhere between 1615 and 1673, the self-portraits reveal an astute and prop- lished by Sir Denis’ friends and colleagues in prize is open to alumni who are 30 years of age Caravaggio became an archetype. agandistic portrayal of the artist and his 2010 in honour and celebration of his 100th or below when submitting their essay and who Mythologised, Caravaggio lost some of his many talents. It is only by deconstructing birthday. Sir Denis was one of the most dis- have completed their highest qualification humanity but gained a signifying power the popular ‘Caravaggio myth’ surrounding tinguished art historians and collectors of the within the past five years (only unpublished as a morally and artistically bad artist. these works that we can fully explore the 20th century, and a determined campaigner essays are eligible for submission. – Philip Sohm, ‘Caravaggio’s Deaths’1 way in which it has been interwoven with, and philanthropist. Sir Denis died on 24 April and imposed on, his self-portraiture, and, 2011 and it is now his Charitable Trust that The author of the prize-winning submission will Caravaggio is an artist whose reputation more significantly, can begin to reappraise runs the Prize. be invited to present his/her essay and attend precedes him. Over the centuries his life these works and consider potential alter- The Sir Denis Mahon Essay Prize comprises an a reception in honour of Sir Denis.
    [Show full text]
  • Retooling Medievalism for Early Modern Painting in Annibale Carracci’S Pietà with Saints in Parma
    religions Article Retooling Medievalism for Early Modern Painting in Annibale Carracci’s Pietà with Saints in Parma Livia Stoenescu Texas A&M University, College Station, TX 77843, USA; [email protected] Abstract: Annibale Carracci (1560–1609) drew on the Italian Renaissance tradition of the Man of Sorrows to advance the Christological message within the altarpiece context of his Pietà with Saints (1585). From its location at the high altar of the Capuchin church of St. Mary Magdalene in Parma, the work commemorates the life of Duke Alessandro Farnese (1586–1592), who is interred right in front of Annibale’s painted image. The narrative development of the Pietà with Saints transformed the late medieval Lamentation altarpiece focused on the dead Christ into a riveting manifestation of the beautiful and sleeping Christ worshipped by saints and angels in a nocturnal landscape. Thus eschewing historical context, the pictorial thrust of Annibale’s interpretation of the Man of Sorrows attached to the Pietà with Saints was to heighten Eucharistic meaning while allowing for sixteenth- century theological and poetic thought of Mary’s body as the tomb of Christ to cast discriminating devotional overtones on the resting place of the deceased Farnese Duke. Keywords: Devotional Art; Reform of Art; Early Modern and Italian Renaissance Art The Pietà with Saints (Figure1) for the high altar of the Capuchin church of Saint Mary Magdalene in Parma articulates the increasing attention brought to the aesthetic qualities Citation: Stoenescu, Livia. 2021. of the Man of Sorrows tradition and the value placed on creative imitation on the part Retooling Medievalism for Early of its maker, Annibale Carracci (1560–1609).
    [Show full text]
  • Felsina Pittrice LIVES of the BOLOGNESE PAINTERS
    CARLO CESARE MALVASIA’S Felsina pittrice LIVES OF THE BOLOGNESE PAINTERS Published for the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington Harvey Miller Publishers An Imprint of Brepols Publishers THE FELSINA PITTRICE Count Carlo Cesare Malvasia’s Felsina pittrice, or Lives of the Bolognese Painters, first published in two volumes in Bologna in 1678, is one of the most important sources for the history and criticism of painting in Italy. Conceived in part as a response to Giorgio Vasari’s Le vite de’ più eccellenti pittori, scultori e architettori (1550/1568), the Felsina pittrice combines close observation with documentary history, and careful analysis with polemical debate. It offers the fullest account of Bolognese artists from Simone dei Crocefissi to Prospero and Lavinia Fontana, from Guercino to Elisabetta Sirani. The Carracci are treated as a family of artists, and their school (including Guido Reni, Domenichino, and Francesco Albani, among others) is documented by Malvasia in far greater detail than by any other biographer. The great art historian Luigi Lanzi (1732- 1810) said that no other school in Italy had been described by a more capable pen, and he considered the two volumes of the Felsina pittrice to be “a treasure of the most beautiful knowledge gathered from the pupils of the Carracci, whom Malvasia knew, and who helped him in this work, which was, however, accused of sometimes burning with an excessively patriotic zeal.” 2. THE CRITICAL EDITION Accusations of excessive passion for his local school, combined with unjustified charges of forgery and unreliability, have for centuries clouded the reception and understanding of Malvasia’s extraordinarily important text, which was last edited and published in 1841-44.
    [Show full text]